Robert Silverberg is a writer I have read far too little of. But then, Silverberg is a writer everyone has read far too little of. One of the most prolific writers in our field, he began selling to the science fiction magazines (interestingly, for the British mag Nebula) in 1955: a mere three years, as he notes in one of his conversations here, after Philip K. Dick began publishing. In his first incarnation, he dedicated himself unflinchingly to writing and selling science fiction for the market, writing stories at breakneck speed (49 in 1956 alone), sometimes in partnership with Randall Garrett, sometimes under a bewildering array of house-names. During the late 60s and into the 70s (when I first came across his work), he changed tack, taking advantage of the increasing openness of the field to new styles and ideas. His work during that period alone would put many lesser writers to shame, both in quantity and quality. Among a series of astonishing stand-alone novels that ought to be on anyone’s bookshelf, Dying Inside (1972) stands out for its dark (some might say metaphorical) exploration of a telepath’s gradual decline of his powers.

Tuesday, October 11, 2016

Cirsova is a new fantasy and science fiction magazine that pays semi-pro rates and focuses on golden-age adventure, sword and planet, heroic fantasy and old-fashioned romantic fantasy genres. One gets the feeling that editor P. Alexander is going for a classic feel, but the word I would choose would be “retro”—along with the larger-than-life heroes, exotic locales and lack of concern for “scientific accuracy,” this issue seems to come from an age before gender or representation had much of a place in escapist fiction. There is a good mix of genres in this slim volume, from very short stories to forty-page novella, by way of poetry, nonfiction and a mock RPG adventure, and from comic-fantasy to shattered far future, by way of faeries, eldrich death spirits and contemporary shark horror. Readers who hark back to this kind of vaguely juvenile fantasy will find a varied, generally well-written and edited collection of seven stories.

Tuesday, October 04, 2016

Ironically, just as I sat down to write this review, a 2010 movie entitled Siren came on TV. The film told the story of a newly-married couple and their male friend taking a boating trip in Greece, purportedly to see “the island featured in ‘The Odyssey’” where Odysseus encountered the Sirens. Once there, they encounter a strange young girl (age never known, but implied to be in her late teens) who is, of course, more than she seems. It wasn’t a great movie, but ironically it actually touched on a number of the themes explored in the Sirens anthology: sex as weapon and compulsion, the intermingling of sex and violence, the awakening of one’s unknown erotic urges, and, perhaps most compelling, the sexual war between genders imposed by society upon heterosexual relationships. The titular siren’s voice works on all three protagonists, male and female, but the men are plagued by visions of and compulsions towards violence, whereas the siren’s gentler, more sensual side is reserved for the heroine. This is juxtaposed by the inadvertent violence that the men, the heroine’s lover and friend, show towards both women; a rape fantasy game played at the film’s opening, leering jokes about sexual violence towards the young girl (including a particularly nasty “joke” about how perhaps a threesome would help her get over her apparent trauma), and sexual speculation about her age (“How old do you think she is?” “Old enough.”). This sort of supposed inherent aggression between the sexes is the true basis for the myth of the sirens, the predatory women who use the same physical attributes used to oppress them to lure their male oppressors to their deaths.

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